miles1

Comments welcome!

Comments welcome!

Thanks John, your comments are spot on as usual!

As I walked into this room I was struck by the the dual portrait possibilities (actually there is another face on the stone which I also photographed in order to get three faces - it just turned out that this was the better one in the end). I had the Digilux set to low contrast and took quite a few shots from several positions bracketing 1/3 stop either way just knowing one would turn out really well. The lady was most cooperative, in fact I think a lot of people take a similar shot, although she did seem to be in an almost meditative state. As you suggested I did have the camera set to 100 ISO because noise is generally unacceptable at higher settings but this is more than compensated for by the f2 (unbelievably sharp) lens and the 2/3 inch sensor's greater depth of field than a full frame 35mm or APS sensor camera. Just looking at the EXIF data on the file I can see that the exposure was 1/50th second at f2.5 and bias of minus 1/3 stop on average metering spot focused on her face.. I may post some out-takes from this series.Cheers, Miles.

Comments welcome!

Comments welcome!

It was an incredible atmosphere; hundreds of monks praying in the forest, the sun had

just

set and there was that wonderful glow that you get in low light - the magic hour I call it.

Luckily I had a fast lens and 400 ISO film to hand.

Wow, beautifiul image - you caught the moment perfectly. Fantastic sharpness too from that Zeiss T lens. Well done! 7/7

Ok, so here's six starting with the most obvious finishing with the rather obscure. 3 bowls; 3 wall hanging dishes; 3 sets of objects namely the afformentioned combined with the baskets (imagine if there were 3 of those); 3 horizontal sets of lines namely the door handles, the basket weave and the tiles; the n shaped curves created by the bowls, the basket handles and the pipe; 3 vertical lines from the pipe, the stick and the edge of the chest to the right. Feels like an IQ test! To be honest I think the last few are pretty invalid as I believe you shouldn't have to work to hard to get something out of a photo. The overall aesthetic is far more important and this quite simply "works."

A great shot of an interesting looking guy with an obvious connection between himself and the photographer. I like street portraiture almost more than any other genre and the wide angle you've used to include the car seats both creates an aesthetic frame and keeps the story relevant. Did you shoot from chest height or did you get into position? When one sees photos like these one thinks it would be nice to see a whole series. I know that when traveling around in unusual parts of the world one often builds a bond with the various (better) drivers and they tend to make great subjects, I take their pictures often. This happens to be a paticularly fine one.

By the way do you remember when we met in Bangkok we briefly talked about how great it would be if there was a compact digital street shooter that worked well at high ISO's as a discreet low light tool but that technically it was probably too hard to do because of noise? Well I've just noticed that Fuji have had a go with the F10 - looks way cool. Thinking about getting one, would open up many possibilities. Good work as ever John. Miles.

I shot off a roll of TRI X in about 30 minutes around Toul Sleng prison in Phnom Penh to

try and capture the atmosphere of the place. The rest of the images are on ny page.

You caught the decisive moment and composed beautifully. Even if the photograph consisted of only the two central characters it would be good but being "framed" by the two pairs who are opposites (age, gender) makes a truly fine picture. All the best, Miles.

Ben I completely agree with you about the hand, I'll give it a go sometime. Rotating it a little doesn't bother me too much but I'll try that too. I really do apreciate your comments because they are always spot on - it's been good interacting with you and I look forward to more. I always enjoy your pictures and therefore respect your opinion and so will always take your advice seriously. Thanks again for taking the time, all the best, Miles.

Interesting, I hope.

Comments welcome, cheers.

Check out the remix.

I've made a few adjustments to the original, let me know what you think.

This is, in my opinion, your best photo. It sticks out head and shoulders (pun intended) over the others; 6/5. Why is it grainy?

You don't always need the latest Playstation to have fun. Hats made from leaves and being

outdoors seemed to make this chaps far happier.

Dwarfed by the trees and temple walls the old boy sweeps Ta Phrom every evening.

Comments most welcome.

Really terrific; lovely tones and textures and, of course the decisive moment.

I've never seen Birmingham look so beautiful. Fine composition, colours and textures.

Well done Gareth; it's Friday evening and it's time for a beer. I think you must have just had one!

In your website you say: "Hello and welcome. I'm Gareth Harper and photoecosse is simply my photographic web site. That's me on the right and yes that's what happens to you if you spend too much time in the dark room." You said it.

You said earlier "I bet he never splashes his name right across his snaps." Wouldn't you know one way or other if you were, as you say, "familiar?" I repeat look at Magnum.

John, when I see pictures of yours like this it does make me wonder, as you often mention, what would have happened if you had taken the route as photojournalist. You have the talent and you write well. That's why I'd love you to comment on the work of Philip Jones Griffiths whom I met recently and is in my opinion the man who took the most poignant images of the Viet Nam war.